Great Singers on the Art of Singing / Educational Conferences with Foremost Artists

by James Francis Cooke

This is a most pernicious habit. Somehow, it crept into some phases of vocal teaching, and has remained. It leads to a constant irritation of the throat and ruin to the vocal organs.

When I went to Paris, Mrs. Duff took me to many of the leading vocal teachers of the city, and said, "Now, Mary, I want you to use your own judgment in picking out a teacher, because if you don't like the teacher you will not succeed."

Thus we went around from studio to studio. One asked me to do this—to hum—to make funny, unnatural noises, anything but sing. Finally, Trabadello, now retired to his country home, really asked me to sing in a normal, natural way, not as a freak. I said to myself, "This is the teacher for me." I could not have had a better one.

Look out for teachers with freak methods—ten to one they are making you one of their experiments. There is nothing that any voice teacher has ever found superior to giving simple scales and exercises sung upon the syllables Lah (ah, as in harbor), Leh (eh, as in they), Lee (ee, as in me). With a good teacher to keep watch over the breathing and the quality, "what more can one have?"

I have always believed in a great many scales and in a great deal of singing florid rôles in Italian. Italian is inimitable for the singer. The dulcet, velvet-like character of the language gives something which nothing else can impart. It does not make any difference whether you purpose singing in French, German, English, Russian or Soudanese, you will gain much from exercising in Italian.

Staccato practice is valuable. Here is an exercise which I take nearly every day of my life:

The staccato must be controlled from the diaphragm, however, and this comes only after a great deal of work.

Three-quarters of an hour a day practice suffices me. I find it injurious to practice too long. But I study for hours. Such a rôle as Aphrodite I take quietly and sing it over mentally time and time again without making a sound. I study the harmonies, the nuances, the phrasing, the breathing, so that when the time for singing it comes I know it and do not waste my voice by going over it time and again, as some singers do. In the end I find that I know it better for this kind of study.

The study of acting has been a very personal matter with me. I have never been through any courses of study, such as that given in dramatic schools. This may do for some people, but it would have been impossible for me. There must be technic in all forms of art, but it has always seemed to me that acting was one of the arts in which the individual must make his own technic. I have seen many representatives of the schools of acting here and abroad. Sometimes their performances, based upon technical studies of the art, result in superb acting. Again, their work is altogether indifferent. Technic in acting is more likely to suppress than to inspire. If acting is not inspired, it is nothing. I study the human emotions that would naturally underlie the scene in which I am placed—then I think what one would be most likely to do under such conditions. When the actual time of appearance on the stage arrives, I forget all about this and make myself the person of the rôle.